Message from my
Centenarian; 2013; 16mm; 7:00
In the year 2079, humans have developed the capacity to send
transmissions into the past. Unfortunately, the Earth is dying. Much of
the Earth’s surface—what little of it remains—cannot
sustain human life. The survivors press onward at one of the
Earth’s two poles. To the south, the Space-Flamers believe the
only answer is to sacrifice themselves to the star that gave the human
race life for so long. By the thousands, they jettison themselves on
space capsules directly into the sun. However, my centenarian, and
others like him (me?), believe in an alternative future based on the
rewriting of our current time-moment. They believe in a new social
construct from which a proto-utopia can emerge. But the message I send
myself is short, largely incoherent, and it doesn’t offer
instructions of any kind.

America, America;
2012; 16mm to video; 12:00
One America is Dvořák's, from his “American” String
Quartet No. 12,
composed in 1893. The other is mine, culled from found images of the
America born from the moving image. Combined, the portrait spans three
centuries.

The Search for Norumbega;
2012; 16mm; 22:00
On the earliest European maps of North America, the unexplored region
of present-day Maine was often labeled “Norumbega.” The
fabled land was
said to be hidden within this vast wilderness, and numerous
cartographies placed Norumbega along Maine’s Penobscot River. But
did
Norumbega ever actually exist, or was it simply a European projection
onto an unknown North American landscape—the desire to imagine a
space
divorced from the problems of European history? If Norumbega was
anything more than a mythologized landscape, the limits of knowledge
fail to prove its existence. Perhaps the poetic capabilities of the
moving image will manifest an alternative future geography—a
Norumbega
that exists beyond the limits of history, cartography, and nationality.

Scott Camil Will Not Die; 2011; digital video; 84:00
For nearly 40 years, Scott Camil has worked as an educator and activist
visiting classrooms and lecture halls speaking out against war as
“organized murder.” Scott Camil Will Not
Die focuses on Camil's work in
these spaces, examining the intersections between Camil
as historical
figure, Camil as educator, and Camil as himself—a complex
individual
who struggles with the psychological traumas of war and refuses to
be
silenced.

Ocean Movements Over Barred Island,
Maine; 2010; digital
video; 12:00Three video screens produce a triptych of Barred
Island, Maine. At low
tide, a land bridge connects the island to the mother island, Deer
Isle. At high tide, the ocean overtakes the land bridge and the islands
are separated. Though the ocean may conceal the connection between
these two bodies, their inextricable link remains. A Highway Called 301;
2010; digital video; 54:00U.S. Route 301, designated in 1932 as a spur of U.S.
Route 1, runs from Sarasota, Florida
northward through the Atlantic states and
ends just beyond the DelawareBridge.
Presently, one-thousand and ninety-nine miles of highway connect small
towns, bisect otherwise rural landscapes, and provide a vital corridor
for commerce and travel. A
multitude of abandoned structures pepper the landscape and provide
evidence of a cultural apparatus that extends both spatially
(alongside the highway) and temporally (into
past-present-future). What can the fragmentary evidence of
remaining structures, or archi-textures, tell us about the
past-present-future cultures who occupy these spaces? This
audio-visual study seeks to answer this question, less in the form of
visual-anthropology (ethnographic documentary) and more in the
uncharted territory of visual-archaeology (science-non-fiction).

Ghost; 2010; 16mm; 3:00
If a ghost is an anomaly of light that takes on human form and the
cinema is a machine capable of arranging light in highly organized
patterns, then it seems apparitions appear so often in the space where
celluloid and light collide that we take these images for granted. When
these patterns of light take on human form a man is no longer made of
flesh and blood but of machine and light.

Young
Machine; 2010; 16mm; 3 min
In the scope of human history, the cinema is a young machine. According
to Hollis Frampton, it is also the last machine. It is the first
machine capable of reanimating the dead. At 21 frames per second, it
begins to breathe life into otherwise lifeless cells—the
inner-workings of the machine imperceptible to the human eye. At
24 frames, “it’s alive!”

Workout
Video (part 1); 2010; video; 5:00Part one of an experimental trilogy
of workout videos. This video is intended for beginners.

This is
not a Pipe Bomb;2010; digital video; 4:00

In the paranoiac
landscape of the 21st century, when is a pipe something far more
threatening, like a pipe bomb?

Warships; 2010; 16mm; 1:30; silentWorld
War Two battleships flicker and fade in the celluloid.Beats per Minute; 2010; 16mm; 2:00; silentA cameraless film that ignores the film frame. The
result becomes twenty-four beats per minute.

White House; 2009;
digital video; 8:00

Three compositions in a single shot
investigate the people, politics, and space in front of the White House.

Dead Buffalo;2009; digital video; 85:00

A neo-western chronicling the last
days of Charlie Johnson’s life, Dead Buffalo follows
Charlie and his son Dusty as they venture westward towards the Great
Plains.Under the influence of
prescribed medications, and after reading Black Elk Speaks (an
account of 19th century Sioux culture), Charlie has a vision
which tells him he must “see the buffalo and restore the sacred
hoop.”

Road to Katahdin;
2008; Super 8mm; 10:00

This Super 8mm film is a
personal study regarding Mount Katahdin, the
highest peak in Maine,
and its ever-changing relationship to humans over the past 10,000 years.

Fragments
from an Endless War; 2008; 16mm; 6:30

Comprised entirely of 16mm
found footage, Fragments examines American culture in an era
that has been defined by a state of permanent economic and military
warfare.

Immokalee U.S.A.; 2008; digital video
77:00

Utilizing largely ethnographic and observational
approaches to documentary filmmaking, Immokalee U.S.A.
chronicles the daily experiences of migrant farmworkers living and
working in the U.S.A.“In an aesthetically pure documentary in
the vérité tradition, Koszulinski allows the audience a
more immersive, emotional experience than most documentaries on the
subject…What is our collective
role in this chain of servitude?, the film seems to ask us, providing
an opening for self-reflection rather than didactic sermonizing.”
(program notes, Maine International Film Festival)

America in
Pictures;2007; 16mm to video; 8:00

AIP
examines American landscapes both real and imagined, using found
footage, original 16mm cinematography and images produced using light
exposure techniques without the aid of a camera.“…A
work of art in its own way; the images are intriguing, the concept is
unique, and the original score is great…” (MicroFilmmaker Magazine, Issue 20
June, 2007)

Using archival
materials and original Super 8 cinematography, Cracker examines Florida
History from a decidedly different point of view.“Koszulinski did his homework - he plundered state archives
for vintage images and footage to mix with his own original footage...
which traces the SunshineState's history from the earliest inhabitants to the present day."
(The Tallahassee Democrat)

Silent Voyeur; 2004;
Super 16mm; 80:00.

Exploring memory and
the manipulation of history, all from the perspective of our amnesiac protagonist, “‘Silent Voyeur’is an experience and it’s one that’s not likely
to be forgotten easily.” (Eric Campos, Film Threat)“…The Story
ultimately reaches out beyond this secluded cabin for a
thought-provoking capper to this well-crafted indie psychodrama.”(Underground Oddities, Shock Cinema, #33)

Blood of the Beast;
2003; digital video; 70:00

Combining
archival footage within the structure of a conventional
narrative, BOTB creates a future dystopia where mankind is doomed to
extinction.“…delivers an
aesthetic juggernaut.Koszulinski is a
major talent to watch…” (Cultcuts Magazine)

Desinformatsia; 2002; digital video; 45:00

In 1966, Saul
Lennewitz believed he was receiving long wave radio frequencies from
extraterrestrial intelligence.His
evidence was destroyed by the U.S. Government. The film chronicles
Lennewitz’s subsequent descent into madness.